Mozart’s The Magic Flute (1791) is perhaps one of the most loved works in all of opera. During the 2012-2013 season, it was the fourth most commonly performed opera with 464 distinct professional productions according to Operabase. Its fantastical story and stunning score, including the famous aria “Der Holle Rache” (also known as the Queen of the Night’s aria), has made it an enduring classic; meanwhile, colorful characters like the comical Papageno have made it a common choice for youth outreach. (Lyric’s upcoming The Magic Victrola pays homage to this trend, at least in name.)
Like most classic operas, The Magic Flute has been subject to numerous reinterpretations. This month, Chicagoans can see a particularly unique production brought to Navy Pier by Chicago Shakespeare Theatre (CST). South Africa’s Isango Ensemble offers a “production [which] effortlessly relocates Mozart’s magical, mysterious kingdom to a contemporary [African] township, encompassing various African languages”, according to CST’s website.
Mozart’s original Flute reflects exoticism (18th century fascination with “exotic” lands such as China, Egypt, India, and, in particular, Turkey), but this production offers a much more authentic cultural experience by blending the well-known western classic with South African performance styles and instrumentation. CST’s website promises “a score faithfully transposed for an orchestra of marimbas, drums, and percussion.”
Perhaps the best way to enjoy this new adaptation is by comparison to the time-honored classic. Many good versions exist on DVD, including the visually stunning 2003 Royal Opera House production starring Diana Damrau and Simon Keenlyside (available at the Naperville Public Library) or the Metropolitan Opera’s Met Live in HD DVD release from 2011.
